檳檳有禮-台灣在地文化認同
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2009
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當代藝術創作是反映社會萬象的其中一種方式，藝術品傳達了藝術家的思維，我們透過藝術家的眼睛去看到當前事件背後不同的思考邏輯。筆者認為身為一個藝術工作者，除了為世界創造美以外，在當代更重要的是讓大家了解我們所處的是一個什麼樣的環境。當今藝術品的價值已經不只是存在於高高在上的博物館，它更貼近民眾，更注重實際行動，更在乎民眾是否關心這個社會。
關心社會是很重要的，在筆者的創作思維裡面，一直與社會連結著。在台灣提倡「本土化」開始，不管是政治的操弄或是自我主體意識的覺醒，都很難讓我們不去思考「台灣是什麼？」、「我又是什麼？」，因為我們所愛的台灣在國際上是孤獨的，當三月份的世界棒球經典賽冠軍戰日本對韓國，透過轉撥畫面看到本壘板後方有中華民國國旗搖曵時，那時的感覺是五味雜陳的，我們必須透過這樣的方式偷偷的表達自我立場，那豈不是很悲哀的一件事嗎。
不管如何，雖然國際情勢不利於台灣，但我們依然要透過各種方式來推銷台灣，提升台灣在國際上的鑑別度。藝術表現是達到提升台灣在國際地位鑑別度的一項重要途徑，因為藝術無國界，因此我們應該想方設法去尋找什麼是台灣，希望這個疑問句有機會變成肯定句。
「檳檳有禮」描繪出筆者自傳式的背景，雖然不能認為「它」絕對的可以拿來等同於台灣，但「它」所具有的歷史背景、飲食習慣，還有衍生出來的社會現象，無一不是與台灣有著深刻的連結，筆者希望透過這一系列的呈現，來讓觀眾從另一個角度去思考台灣的文化認同現象。
Temporary art is a method of reflecting the variety of society. Art works convey the thought of artists- we see another side of logical thinking of an event through the artists’ eyes. The author considers that the duties of an artist, are not only to create beauty for the world, but also to explain the environments we are living in now in regards to temporary art. The values of art works nowadays do not mean exhibiting at museums; instead, they are closer to the audience, more focused on practical actions and the concern of the society by the audience. From the author’s viewpoint, society-concerning is critical and connects with the society. At the beginning of advocating localization in Taiwan, both politics control and the awareness of self-ego make us to consider ‘To what extent is Taiwan?’ and ‘To what extent is me?’ because the county, Taiwan, we love is lonely internationally. In March, The World Baseball Classic Championship- Japan to Korea, it was mixed feeling when seeing the Taiwan’s flag waving behind the home plate through TV broadcast. It is a pity that we need to present ourselves secretly in this method. Although the international situationhas no advantage to Taiwan, we still need to promote Taiwan in every possible method in order to promote Taiwan’s reputation internationally. Art-presenting is a critical approach to promote Taiwan because there is no boundary. Therefore, we should try to question what Taiwan is; hopefully, this hypothesis will become a truth. ‘Bin-Bin Courtesy’ sketches the author’s autobiographic background. Although he does not assume that ‘it’ absolutely equals Taiwan, ‘it’ has Taiwan’s history, the dining habits and the evidences of society- it is connected with Taiwan deeply. The Author hopes that though the series of works, the audience will meditate the different perspective of Taiwan’s culture identification.
Temporary art is a method of reflecting the variety of society. Art works convey the thought of artists- we see another side of logical thinking of an event through the artists’ eyes. The author considers that the duties of an artist, are not only to create beauty for the world, but also to explain the environments we are living in now in regards to temporary art. The values of art works nowadays do not mean exhibiting at museums; instead, they are closer to the audience, more focused on practical actions and the concern of the society by the audience. From the author’s viewpoint, society-concerning is critical and connects with the society. At the beginning of advocating localization in Taiwan, both politics control and the awareness of self-ego make us to consider ‘To what extent is Taiwan?’ and ‘To what extent is me?’ because the county, Taiwan, we love is lonely internationally. In March, The World Baseball Classic Championship- Japan to Korea, it was mixed feeling when seeing the Taiwan’s flag waving behind the home plate through TV broadcast. It is a pity that we need to present ourselves secretly in this method. Although the international situationhas no advantage to Taiwan, we still need to promote Taiwan in every possible method in order to promote Taiwan’s reputation internationally. Art-presenting is a critical approach to promote Taiwan because there is no boundary. Therefore, we should try to question what Taiwan is; hopefully, this hypothesis will become a truth. ‘Bin-Bin Courtesy’ sketches the author’s autobiographic background. Although he does not assume that ‘it’ absolutely equals Taiwan, ‘it’ has Taiwan’s history, the dining habits and the evidences of society- it is connected with Taiwan deeply. The Author hopes that though the series of works, the audience will meditate the different perspective of Taiwan’s culture identification.
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全球化, 文化認同, 在地性